"Some vocal recording debuts are tentative and readily sound as such. Not so, for Philadelphia born singer Angie Wells. On her newly minted Love and Mischief, she spins out eleven (including one bonus track) mostly standards (with two originals) that are burn-the-barn smoldering with a centripetal swing. " -ALL ABOUT JAZZ 05/28/2017

ANGIE WELLS/Love and Mischief: "Wow. This sounds like Nina Simone would have sounded if she just decided to swing. With an appropriate old school set card in the tracks, Wells doesn't feel like she's going for an old school vibe so much as she is just giving a bunch of songs that resonate with her a solid work out. Jazz vocal fans that want to feel some back in the day stuff by a young modern will have their ears really perk up here. Well done." - Midwest Record Review 04/03/17

CONTEMPORARY FUSION (Click on link below to read full review)

"I give Angie and her players a HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.98 for this fine album"

Sometimes a CD cover can snatch consumer attention and create interest in a recording project before one even listens to the artist. Angie Wells delivers on such a cover, classy in her white, skin-tight dress with a large, red flower decorating her shoulder. The music is as dynamic as the gorgeous photo cover by Chad Finley. Wells opens with Blossom Dearie’s jazz standard, “Peel Me A Grape.” She has her own unique sound and style. This artist exemplifies, from her very first tune, that she’s willing, able and determined to put the “S” in Swing. I love the Kenny Elliott drums on this production. Those drums push the group and accentuate the crescendos and excitement inspired by the vocalist.

“The Moon is Swinging on A Line” is an original composition by pianist, Raphael Lemonnier, with lyrics by her guitarist, Mathis Haug. Wells also contributes to the lyric al content. It’s a haunting ballad, with bluesy changes that engage the artist’s smoky voice to deliver the story of a New Orleans street and a lost love affair. She sings with expressive conviction. The tempo and minor changes are dirge-like, with Haug’s guitar prominent on the fade and during his solo. I wish I could have heard more of Haug’s rhythm guitar licks throughout. I feel he is mixed way too low during the mastering of this project. “She Ain’t the Kinda Girl” is another original by Lemonnier & Wells, arranged as a blues shuffle, where James Leary pumps his upright bass like a weight-lifter pumping iron. He lifts the bar and makes the music sweat, while Lemonnier pounds the piano in a raucous, downhome-bluesy way. His solo is outstanding and gospel tinged, reminding me a lot of the late-great Gene Harris. Wells sings lyrics with raw emotion and sincerity. You hear this quite clearly on “You’re My Thrill.” Harry Kim is sensitive and tasty, with trumpet improvisations that enhance the vocalist’s delivery and sweeten the mood of the song. I love those Elliott mallets on “Nature Boy” that percussively propel this ballad into a Bolero. Bili Redd brings his silky, smooth baritone to a couple of duets with Ms. Wells, on an “I’m In the Mood for Love” medley incorporating “Moody’s Mood for Love” and also on “Baby It’s Cold Outside.” This Is a fine start for a premier recording that introduces us to a naturally endowed jazz singer on her way towards a propitious outcome. - Dee Dee McNeil Musicalmemoirs.com 04/12/17